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Eric Reed Podcasts

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20 of The Best Podcast Episodes for Eric Reed. A collection of podcasts episodes with or about Eric Reed, often where they are interviewed.

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20 of The Best Podcast Episodes for Eric Reed. A collection of podcasts episodes with or about Eric Reed, often where they are interviewed.

Updated daily with the latest episodes

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EP. 68: AHW perseveres, John Deere goes virtual, Eric Reed (Part 2), The music of John Berry

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On this episode, Roy Johnson with John Deere dealer AHW LLC talks about how the dealership used the strength of its website to navigate the pandemic, John Deere’s Laurel Caes talks about how the manufacturer has had to pivot from in-person fall farm shows to virtual events, The Hot Rod Farmer, Ray Bohacz, shares his “Bushels and Cents” tips and we have the second part of our conversation with Corn Warriors Season 4 competitor, Eric Reed. The episode also features a conversation with Grammy-winning country music artists John Berry.

Time stamps:

  • Roy Johnson, AHW LLC: 1:14
  • Laurel Caes, John Deere: 11:29
  • Ray Bohacz, Bushels and Cents: 19:59
  • Eric Reed, Corn Warriors: 20:58
  • John Berry, 31:42
Aug 21 2020 · 1hr 31mins
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Ep. 67: FFA in the new school year, Ray Bohacz, Corn Warriors competitor Eric Reed, a conversation with Opry legend Jeannie Seely

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On this episode we have a summary of the USDA August Crop Production Report and a discussion with National FFA Organization Communications Manager Kristy Meyer about how FFA will help guide chapters through an unusual school year and what a virtual national convention might look like. We introduce “Bushels and Cents,” a new feature from the Hot Rod Farmer, Ray Bohacz, and we talk with Corn Warriors Season 4 competitor Eric Reed. The episode also features a conversation with Grand Ole Opry legend Jeannie Seely, with special guests Tim Atwood, Dallas Wayne and Bobby Tomberlin.

Time stamps:

USDA August Crop Production Report: 1:20

Kristy Meyer, National FFA Organization: 2:32

Ray Bohacz, FarmMachineryDigest.com: 11:45

Eric Reed, Corn Warriors: 13:13

Jeannie Seely/Tim Atwood/Dallas Wayne/Bobby Tomberlin: 33:55

Aug 14 2020 · 1hr 11mins

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EP.01 - Eric Reed / Dreamstreet

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Host Robin D.G. Kelley and Pianist Eric Reed discuss Erroll Garner’s album Dreamstreet. Recorded in December of 1959 and released in March of 1961 as the first product of Garner’s newly formed Octave Records, Dreamstreet is also the first album of the recently released Octave Remastered Series. Hear what makes this album so important and explore what Erroll Garner’s music has meant to Eric Reed’s own music journey.


Listen to the album: https://www.errollgarner.com/dreamstreet-ors

Check out the full Octave Remastered Serieshttps://www.errollgarner.com/

Learn more about Erroll Garner Uncoverederrollgarner.com/podcast


Follow Erroll Garner on

Facebookhttp://www.facebook.com/officialerrollgarner/

Instagramhttp://instagram.com/errollgarnerofficial

Twitterhttps://twitter.com/errollgarner

YouTubehttps://www.youtube.com/channel/UC960_Jq0MdN_RuLbTGfR1HA


Find out more about our guest 

Eric Reed: http://ericreed.net

--- Send in a voice message: https://anchor.fm/erroll-garner/message
Aug 14 2020 · 32mins
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Episode #41: Eric Reed

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In this episode host Adam Wolf talks with New York freelancer, American Brass Quintet hornist, and teacher Eric Reed. We discuss his life at Rice, New World, Oregon, Juilliard, Canadian Brass, and American Brass Quintet. Along with all this, his gear, and his approach to teaching young hornists come up in a modern world.

Jun 01 2020 · 1hr 45mins

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Ep.2 – Eric Reed (Alabama Deathwalk)

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Eric discusses his upcoming album “Young Runner”, playing rowdy music in his youth, his favorite Bright Eyes album, the influence that his hometown of El Paso, TX has on his songwriting, his distaste for turtle neck sweaters, hitting the road with Jim Ward of Sparta and more!
May 11 2020 · 55mins
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Tim McRae & Eric Reed, Jordan Ashley

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TriJam Podcast! With Kyle Maack, Shae Davis, Jo Rivers, and Will Wright. Produced by Daniel Kane and “Intern” Kevin Ward!

Our guests today - Tim McRae & Eric Reed, Jordan Ashley

Intro (0:00:00) The Scoop! (0:17:10)  What’s Going On, Shae? / TIM McRAE & ERIC REED Interview (0:30:42) This Week in History / Jordan Ashley Interview / Wrap Up (0:59:59)

Jan 17 2020 · 1hr 49mins
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Episode 032 features Eric Reed with Southern Cross

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Eric Reed is the vice president of human resources for Southern Cross, a firm that contracts with utility companies throughout America to help detect natural gas leaks in pipelines. The company can offer full-time work, benefits for workampers and the opportunity to long-term projects in different parts of the country.
Jan 16 2020 · 26mins
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Eric Reed on Jazz Inspired

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Judy Carmichael interviews Eric Reed

Apr 27 2019 · 59mins
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31: "irregardless," Dem Bomb scares, Ar-Ab, Eric Reed vs Malcolm Jenkins

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Oct 26 2018 · 1hr 50mins
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Jazz, Jesus, and the Business of Music | Eric Reed

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Eric Reed is a piano player well know in jazz circles. He has played with some of the great musicians of our time. In today's episode Eric shares the keys to success on how to navigate the business of music for the next generation. We also dive deep into creating your signature sound as a musician. Being a musician is balancing the art with the industry of music. Eric's passion for music is rooted deeply in family and faith. He shares how these two elements build his success in music and how it impact his humanity.In today's episode we also dive deep into the plans of God, faith as an action, creating music with message, getting to the other side of pain, wrestling with depression, where to find your validation, lessons from our dads, learning from those living, the politics of music, being patient in your career, diversification, hustling, goal setting, working smarter not harder , and much more.“I don’t view art as contemporary, modern, traditional, old or new,” says pianist-composer Eric Reed. “Nor do I endorse cliques or camps. I promulgate integrity in all things.”Through more than a quarter-century as a first-caller on the jazz scene, Reed has articulated this inclusive conception as a leader of numerous ensembles, solo performer, composer, producer, educator, and sideman with numerous artists, including extended stints with Buster Williams, Joe Henderson, Freddie Hubbard and Wynton Marsalis. Whatever the context, whatever the style, he consistently animates the flow with fresh ideas, virtuosic chops, intellectual clarity and an unwavering will to groove.On a remarkable series of recent recordings, Reed illuminates his aesthetic scope, navigating diverse terrain with intense focus and sagely concision. Consider, for example, one of Reed’s most recent releases, The Adventurous Monk, a 2014 date on which he offers idiomatic yet personalized, loose yet cohesive interpretations of ten works by the genius pianist-composer Thelonious Monk. It’s Reed’s third Monk project since 2009, when he made The Dancing Monk, followed in 2011 by The Baddest Monk, on which he addresses the iconic songs with just the right admixture of maverick recklessness and natural command. “I imbibed heavily on Monk’s music as I became more immersed in composition and my journey as an artist,” Reed remarks. “The rhythmic, harmonic and melodic variety in his pieces inspire, allow and compel me to embrace the challenge of trying to convey messages in a non-verbal manner.”A similar spirit of grounded exploration infuses Reed’s most recent release and first live recording, Groovewise, on which he navigates mainly original music on the bandstand. The spontaneity of live performance comes through on Stand!, a jubilant-to-introspective 2009 studio date on which Reed presents 11 pieces inspired by biblical themes. On two other in-studio trios—Something Beautiful from 2011 and Here, a 2006 session —Reed coalesces his own pieces with repertoire from popular songs, less-traveled jazz classics and gospel, deploying a wide range of moods and dynamics in the manner of a live set. Different in ambiance but equally impromptu is Reed’s Reflections Of A Grateful Heart, a contemplative, subdued solo recital of hymns, spirituals and gospel songs from his pen and, among others, Edwin and Walter Hawkins, Richard Smallwood and Billy Taylor.“The older I get, the more I start to see my musical, spiritual and personal influences as all one stream of consciousness,” Reed says. “When I was younger, I was exposed to music in my house, my neighborhood or in school; I didn’t care about what it was labeled. When I became a professional musician in my teens, the lines between the different styles were drawn in big red marker. Now, I’m not concerned about highlighting and the imposed differences. The musical experiences are all tied together.”Reed developed the core principles of his musical sensibility almost from the time he began to speak. “Before I could even reach the pedals,” he recalls, he was playing for and enhancing worship services for the congregants in the small Baptist storefront church in West Philadelphia where his father, a quartet singer, sang and preached. “My earliest experiences in the Holiness church were colored with charisma; people were moved largely by emotion,” he says of that functional setting. “Music played a major role in manipulating these emotions, even inciting people to dance. I developed my ear in an extraordinary way; if someone started to sing, I could quickly find their key and begin to accompany them.”Noting their son’s exceptional talent, Reed’s parents signed him up for private piano lessons at age 5, which continued at South Philly’s prestigious Settlement Music School. In the meantime, his aunt and uncle scoured flea markets for records. “They found these records by Horace Silver, Art Blakey and Dave Brubeck. Additionally, in our home, all kinds of music could be heard on the stereo and the radio because my parents and older siblings were into gospel and popular forms of music.” Reed recalls. “I listened to everything.”When Reed was 11, his family migrated to Huntington Park, California, a suburb near Los Angeles with a well-stocked neighborhood library where he continued to self-educate, reading various biographies, theory books and absorbing records. Soon, he enrolled in The Community School of Performing Arts (now The Colburn School), where his mentor Jeff Lavner, introduced him to even more recordings. In 1986, Wynton Marsalis conducted a master class there and took immediate notice of Reed. Marsalis connected the school to tenor saxophonist-educator-arranger Harold Battiste Jr., who was asked to develop an improvisational workshop. Eric reminisces, “Mr. Battiste was a soulful and lovely human being. He was patient and loving with me, taking me to clubs all around L.A. to check out music.”Wynton recalls, “Eric had great ears and already had formed his musical personality. He had a phenomenal level of talent for his age; I’ve only met four or five musicians with that extreme ability. He’s intelligent and curious; you don’t have to spend a lot of time explaining stuff to him. And there’s his pedigree: he grew up in the church, so he had direct exposure to the vernacular.” By his late teens, Reed, who had won several local music competitions judged by the likes of Horace Silver, Billy Higgins and Ernie Andrews, began to work professionally with tenor saxophone legends Teddy Edwards and Buddy Collette, Gerald Wilson, The Clayton Brothers and Clora Bryant. After matriculating at California State University, Northridge, Reed officially assumed the piano chair with Marsalis in June 1990 — and moved to New York City.Except for an 18-month return to Los Angeles in 1994-95, when he apprenticed with Benny Carter, Freddie Hubbard and Joe Henderson, New York remained Reed’s base of operations for the next decade-plus. From the jump, Reed became deeply entrenched in New York’s hardcore jazz scene, entering the rotation at Bradley’s, the legendary New York piano saloon, where masters bonded with students, providing a platform for Reed and his peers to cut their teeth. He documented seminal and now classic works on a series of trio and combo albums, It’s All Right To Swing, The Swing and I, Musicale, Pure Imagination and Manhattan Melodies.“In the heyday of the ‘90s, we were all devoutly and intensely devoted to the idea of what we thought Jazz was supposed to be,” Reed remarks. “Integrity has always been part of my essence, presenting a wide variety of music in a relevant fashion. Wherever the music goes, I want to go there and be present in that moment, not just a stylist.”After initial forays at applying this dictum on recordings, Reed curated concerts and produced studio dates for other artists, notably in a series called Jazz Composer Portraits for Manhattan’s Miller Theater from 2001-03, eliciting creative, unified performances of music by pianists Elmo Hope and Donald Brown, drummer James Black, alto saxophonist Eric Dolphy, bassist Ben Wolfe and the legendary Billy Strayhorn.“I like taking on the challenge of trying to make something my own, while attempting to honor the composer’s intentions,” Reed says. “I’ve embraced the songbooks of many composers and being able to draw from these different sources has helped me to find my own compositional voice. Some people find their voice early; some find it later. Earlier on, composing was more something that I did by default because I had a studio date coming up. On It’s All Right To Swing and Musicale, it was about the arrangement and presentation of the piece. Now, I incorporate more of my improvisational ideas into the way I write. I trust the musicians to interpret it and whatever happens, happens.”Throughout the ‘00s, Reed provided artistic direction for singers Paula West and Mary Stallings, for whom he produced 2013’s But Beautiful. “The art of accompanying singers has been ingrained in me since I was a child playing in church,” he remarks. Reed also began to teach privately under the auspices of Juilliard School of Music, the New School and Manhattan School of Music, helping to direct young luminaries like Aaron Diehl and Kris Bowers towards paths that “might help enhance what they were already doing and get them to become more developed musicians. This is why I don’t call myself a teacher, but a mentor.”“The bandstand is where the real education is,” Reed says. “The only way musicians truly learn what’s valuable is by being in the trenches. I thank God that so many of the old guard embraced me. I was truly and wonderfully blessed.”In 2008, Eric moved back to his beloved Los Angeles, jumping feet first into the local scene as musical director for Regina Taylor’s critically acclaimed musical Crowns, which ran for the entire summer at the Nate Holden Performing Arts Center and the Pasadena Playhouse. From 2010-2012, Reed was back in familiar territory – the church. Fondly, he state
Jul 05 2018 · 2hr 11mins
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